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Jazz & More Guitar Lessons: “There Is No Greater Love”

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Tune-Based Instruction "There is
No Greater Love" Melody & Chords Part 1.
All right,
let's start by breaking down this song.
Let's start with the chords.
First chord is a B flat major 7 chord.
Second chord is E flat 7.
You can also flavor it a little bit.
You can flavor it with E flat 9,
the F on top in that position.
E flat, G, E flat like that.
Then they maybe do, like,
an A flat 13,
an A flat 7 is a basic chord.
Then you can add the F on top.
A flat, G flat, C and.
And you wanna keep that F.
Do a G7 like this, or maybe.
Like a sharp 5, G7 sharp 5 here.
The E flat on top.
Here I'm doing like a guide tone,
you know, it's, I move from F to,
to E, the 13, 7th, 13, and
flat 13 or sharp 5, and then.
C9, C7 is the basic chord.
C minor 9, I'm moving the E here, C, E,
E flat, D to C, E flat, E flat and D.
Then maybe F13.
And so keep pulling down to
the flat 13 and sharp 5, so.
Second time it's moving fast through here.
It's one bar, one, two, three,
four, C minor, F7 in one bar,
and then B flat major again
from the playing down here.
B flat, F, A, D.
[SOUND] And the F on top.
Then we have the bridge.
Or let me first, thi, this is a ki,
kind of a cool chord
substitution you can do here.
You can have a.
Like a.
B flat on top.
B flat.
G on the fourth string.
C on the third string.
F on the second string, and B flat.
On top string, and then.
So instead of the E flat,
now I'm doing an A [SOUND] 7 or
A, A13 flat 9.
It's like a G flat triad on top here.
Here, and G, and A, so.
[SOUND] And A13, A flat 13
with the 9 on top, B flat.
And then A G7 sharp 5, sharp 9.
You keep that and
you can start with doing B flat 9.
Pretty cool.
It's a big stretch, so
if you have problem with
using the thumb here you can
probably just go like this instead.
Find these guide tones,
it's really cool when you
working with voicings.
So let's continue with the bridge,
A minor 7 flat 5, 5th position, A,
G, C and, and E flat.
[SOUND] And we can do it on the E7,
we could do the D7 flat 9,
we can keep the E flat on top.
G minor 7 if you wanna play G minor
6 with E here, G, E, A flat and D.
Same, one more time.
If you find, would like an upper
voicing sound, the root on top here.
First string, instead on the six string.
That's F for three times.
Add the C7 or a C9 again.
C minor 9.
F7, sharp 5.
Kind of like that one, or
you can just play the plain F13 or
F7, that's fine too.
Tune-Based Instruction "There is
No Greater Love" Melody & Chords Part 2.
Then, instead of going back.
The original chord progression of this
song is actually the same thing again,
repeating the A section.
But here on this backing track, the rhythm
section, they're doing like this.
So what
they're doing, they're replacing
the B flat major here with a.
Sharp 4, minor 7, flat 5,
E minor 7, flat 5 chord.
E, B flat, D, and G.
Then an E Flat 9, F on top,
then a D minor, a D, G,
D minor 7 C and F.
You wanna play this if you wanna
play the 4th instead of the 5th.
E flat 7, D flat 9.
So we have this line,
And then A flat 7 or A flat 13.
And then G7.
Our 7, you know, sharp 5.
So, back to C7, and
then ending, if you wanna do
a good turnaround at the end.
B Flat, G7, D minor 7, F7.
So the last A section after the solos is,
And solo break.
If you wanna do, B Flat, G7, C minor, F7.
So that's the chord progression.
So let's move over to the melody.
I mean, I will now play,
like, a really basic melody.
When I played and did my performance of
this song, I improvised a little bit,
did some more ornaments,
changed the melody.
You know, slightly, but, but now, I'm
gonna try to stay close to the original.
And, just like before,
I don't wanna teach you any set fingering.
'Cause the way I do it,
I move around quite a lot.
All over the guitar neck, moving in this
direction instead of in the position.
So just learn the notes, and
then you can play it the way you want.
It might sound like here.
If, if you play it up here it might sound.
You hear it's a different sound.
Or if you played up here.
There many ways of,
of doing it so, the notes are A,
B flat, C, B flat, A, G, D.
F, E, E flat, B flat, G D.
One more time.
A, B flat, C, B flat, A, G,
D, F, E, E flat, B flat, and, D.
But you, you can stay in this pos,
If, if you like instead.
But I'm, I'm moving around.
So, and then, [SOUND] Or.
[SOUND] A, A flat, G.
D, D flat, C.
So one, two.
[SOUND] Three, four.
Two, three, four.
One, two, same.
You can change it a little
bit rhythmically if you like to.
This is,
this is I heard some people do like this.
D, C,
B flat, C, B flat.
And then we have the bridge.
D, F sharp, A, C, B flat
F sharp, A, C, E flat, D.
And then back to, [SOUND]
A, G, D, C.
And C sharp.
Same thing.
D, C, B flat, C, and B flat.
Now I'm adding a couple of chords.
You can try this if you like to,
And sometimes I'm using like the,
this like for here.
7th chord maybe from the 3rd.
And 7th.
So like.
There's a count of calm for
yourself a little bit.
Tune-Based Instruction, "There is
No Greater Love" Scales & Harmony Part 1.
It's time to show you some of the scales
and devices that I'm using when I'm
improvising with a song like this, or
in this case over this specific song.
I will teach you some good
tools how to analyze.
This method I am sometimes using
is called the Berklee method.
And, I am not using it all the time, but
it's good to know about it and,
and understand it.
And, it's a way of analyzing,
that means you are trying to refer
the chords of a song,
as much as possible, to one key.
Even though you can't find these
chords within the chord scale
like if this song is in B flat major.
Even if you find chords that
are not in the B flat major scale,
you can sometimes consider them as
borrowed chords from another B flat scale.
Or, another B flat mode and still kinda
keep the feel of being in the same key.
Instead of considering
modulations at all times.
But, of course, the most important
thing when improvising is,
is hearing what you're doing
being able to outline the chords.
You know, work on the arpeggios and
be able to outline it.
But, the scales are good too,
they're good devices too, it's like words.
When you're learning a language you,
you learn a lot of words.
And then, you can put it together in
your own way, your own sentences.
So, a scale shouldn't be
considered as something,
you know, you have to play like this.
A scale is just a set of notes.
And then, you can use these
notes in different orders.
And, you can, you know, use different
scales and, and get different colors.
So, the first chord is B flat major 7.
And, since this song is in B flat major,
I would recommend a B flat Ionian scale.
Ionian scale.
In Swedish we say Ionian so,
jonisk B flat, C, D.
E flat, F, G, A, and B flat.
Okay, and
this is the arpeggio B flat, D, F, and A.
The second chord, E flat 7, is not
within the B flat major chord scale.
I mean, you can, the, the natural
four step would be E flat major,
but here we have an E flat 7.
And, of course, you can just play
the mixolydian scale here form E flat.
But then, you have this note, and
this note is not within
the B flat major scales.
So, what you can do here, and
find scale that works over E flat.
That has the, [SOUND] the dominant 7th,
that also has the A.
So, that scale would E flat, E Lydian,
flat 7, E flat Lydian, flat 7.
E flat, D, F, I'm sorry, E flat, F, G,
A, B flat, C, D flat, E flat.
And, if you start on B flat,
playing the exactly same notes,
you get a B flat melodic minor scale.
So, you can consider this chord the 4 7,
as a borrowed chord from
instead of B flat major.
It's temporarily borrowed
from B flat melodic minor,
and the fourth step of B flat
melodic minor is B flat 7.
So, as you can hear, you don't really
have to change one note, D to for
the second chord [SOUND] on
the first chord [SOUND] like this.
Another tool you can use
is also the pentatonic.
I mean,
it sounds great even over the first chord.
Like, to go between the sharp 9 and
the 3rd.
Even though it's not a dominant chord,
you might get away with it if
you have a nice bluesy feel,
you can use this [SOUND] this
dominant 7 too instead of this,
and then, stay on the second chord.
On this,
same if you play the pentatonic for
the first.
then, for the next chord, it works,
works as well, it's pretty cool.
The third chord is A flat 7.
And, as I see it here A the A flat 7
is like a tritone substitution for D.
D7 and D7 is a bi-dominant,
a dominant that would lead
to third step of the B.
I'm sorry the sixth step.
The sixth step of B flat major is,
would be G minor.
And this, D7 would be a dominant
approaching that step, that root.
But, it,
here instead we have the A flat 7.
And, A flat 7 is is,
it's tritone substitution.
You replace the root with the sharp four.
And, and, make another dominant chord.
So, and
when you have a tritone substitution,
the scale is always Lydian flat 7.
A flat, B flat, C, D,
E flat, F, G flat or A flat.
You can also look at this chord
like it's the 7th, the,
I would say the dominant 7th, the,
not the major 7, but the minor 7,
or the dominant 7 step of B flat.
And, since it's in the B flat major scale,
since we have A and not this note,
we have to find another B flat mode.
And in this case it would be the.
A mixolydian flat 6.
So, if you start that scale from A flat,
you get A flat Lydian flat 7.
So, the result is the same.
It depends on how you look at it.
If you look at it as a tritone
substitution for D7.
Or, if you look at it as
a borrowed chord from B flat.
That mixoydian flat 6.
there's a lot of theory now, but
these are just devices and and, and ideas.
You don't have to use it all the time or
think this way.
This is just, I'm showing you just,
a way to think.
And myself, I think many different ways.
But this is a really good way of analyzing
a song especially when you analyzing it
in writing, cuz you can refer it to,
to one key and one tonal center.
Then we have,
instead of leading to G minor, that will
be the natural six step of B-Flat major.
We have G7 here.
And G7 is another dominant,
like a bi-dominant in this scale,
in this E-flat major scale,
because it leads to C7,
and C7 is not in the scale either,
but C it leads to C and C would be
the second step of B-flat major.
So it's a dominant leading
to the second step.
A bi-dominant.
In this case it's going
to another dominant.
But the root goes here to the,
the second step.
the way to find out what scale
to play over a bi-dominant
using this this way of thinking is to
as the chord tones, G, B, [SOUND],
you play the chord notes on the F.
Root, third, fifth,
and seventh, dominant seventh.
Then you take the rest of the notes.
From the surrounding key,
from B-Flat, every second note.
So first every second note,
[SOUND], from the Arpeggio, and
we have the A from the B-Flat scale,
B-Flat major scale.
[SOUND] B-Flat B from the Arpeggio,
C from the scale,.
[SOUND] D from the Arpeggio.
And then we have [SOUND],
an E-flat from the scale.
And F from the arpeggio, and G.
Now what is this?
It's a mixed Lydian flat six, once again.
the sound of this scale is
not really my favorite.
In this case, I would go outside the,
the key a little bit.
And maybe use the altered scale.
[SOUND] Super Locrian.
Instead of this, instead of this sound.
That is more within the key.
I kind of like this sound.
Goes to C7.
And C7 is analyzed as another bidominant.
Cuz it's the five seven to
the fifth step of B-flat major.
It's five seven to five.
You do the same thing.
Take the chord tones.
C, [SOUND] ,.
[SOUND] ,.
[SOUND] ,.
and B-flat [SOUND] and
you fill out with notes from
the surrounding key and then you get,
C Mixolydian this time.
But when I improvise,
I like to flavor it more.
So I use this note to,
[SOUND], the sharp four.
Or the sharp 11.
I like this sound.
You can even go further out.
And use C super Locrian too.
Or maybe,
the this half step whole step from C.
The symmetrical diminished.
So there are many alternatives here.
I'm just showing you the basic thing
what is most inside the,
the chord scale and the key.
And then I'm showing you different
options too that you can use
that might sound even more better,
but, but a little bit more outside.
[SOUND And then you have F7.
Or before it goes F7, it goes to C minor.
So two, five, two, five,
one in the key of B-flat.
So Dorian, you can use this approach,
you know, B if you like to.
But I, I, but the basic scale is Dorian.
And then Mixolydian,
on the F7, but
you can also go outside and
use the super Locrian.
So you start [SOUND] ,.
A section, you start with the,
the major scale.
E on the outside seven, E-flat.
Or if you want at least a pentatonic.
Or if you want to use mixed Lydian.
A-flat Lydian flat seven and G7.
Here I like the altered.
On the C, I like this.
Lydian flat seven.
then Dorian, and then maybe like
a super Locrian on, on, altered on F7.
Super Locrian and al,
the alto scale is the same thing,
just a different name to it.
Tune-Based Instruction, "There in
No Greater Love" Melody & Chords Part 3.
Sometimes I'm also outlining like this.
A superimposing 2 5.
C sharp minor 7.
F sharp minor 7.
C minor 7.
And it's time for the bridge.
A minor 7 flat 5, D7.
G minor.
And this is like a two you can
consider it as a 2, 5, 1 in G minor.
And G minor is related
minor key to B flat major.
what you have here is
the minor 7 flat 5 chord.
The seventh staff of B flat major.
So Locrian would be the.
Natural thing, they're both inside choice.
But you can also replace this B
flat with B and get this sound,
the Locrian natural 9.
If you wanna go further outside.
The same
as C melodic minor starting from A.
The next chord is D7.
And D7 is the 5 7 to 3, by dominant
leading to the sixth step of B flat major.
So you take the chord tones,
D, F sharp, A, and C,
and fill out in between with
the scale tones from B flat major.
So D, E flat, F sharp, G,
A, B flat, C, and D.
This scale is called Mixolydian flat 2
flat 6, and it's only one note that
is different from the A Locrian.
Is this F sharp instead of F.
So, and
then we, when we go to the G minor,
you can choose the Aeolian
scale as it's the most inside choice,
B flat major starting from G.
But you can also continue with this scale.
The same scale you played on the D7,
but you start from G and
then it's called G harmonic minor.
You hear it's the same scale.
You start on different note, so.
On this dominant chord you can also go
outside if you wanna
use the super Locrian.
I do that too.
And here on the G minor chord you can use,
you can use Dorian if you like,
if you want to get that flavor.
Or if you want to use the G melodic minor.
Or harmonic minor.
Or Aeolian.
So you, here you have many choices.
And I'm not telling you
exactly what choice to make.
I'm just showing you
these different options.
So you can hear for
yourself what you like the most, and
then you can add it into your own playing.
So the bridge might sound like this.
Then we have
this C7 again.
And here, even though it's more inside
to use the Mixolydian I like to use
this Lydian flat 7 with the F sharp.
And then C minor,
F7 2, 5, 1 in B flat.
I like to, to, to you know,
practice arpeggios too like this.
also to find chromatic
guide tones over this song.
Like, start on, on, on one here,
maybe here or, or anywhere.
Start like.
Then maybe turn around like.
So I'm moving, I'm staying on, on a note.
You know, if, if I'm changing chord, if I,
chords, if I can stay on a note I do it.
Or if I can change it half
a step up I might do that.
If I can change a whole
step up I might do it.
But I try to keep it like with
closed voicings to have a, a,
a guideline on top like.
It's really cool cuz this way you will
hear, and then you can take it
from there when you improvise.
And so on.
So it's a really good way of exercising.
Let's continue now with the last eight,
last eight bars, one three one.
here we have the tri-tone substitution.
For, for two fives.
So instead of starting on.
B-flat major, let's start on.
E minor seven flat five.
It's minor seven flat five and like sharp,
sharp fourth step of B-flat major.
And the scale would be.
E Locrian.
And now you might ask, how,
how do I find this scale,
because within the B-flat major scale,
there, there's no E-flat, E Locrian.
But within another B-flat major scale.
B-flat Lydian.
We have the sharp fourth step.
this is a borrowed chord
from B-flat Lydian.
This is the way I consider it.
And then, instead of A seven,
I can add from two five.
We have the tri-tone substitution.
The E-flat seven.
And then the natural scale will be.
As always with tritone substitutions
E-flat Lydian flat seven.
Then D minor and
D minor is the third step of B-flat major.
So Locrian Phrygian would
be the natural choice.
D, E-flat, F, G, A,and D-flat.
But, since it's going to the D-flat seven.
Which is a tri-tone sub of G seven,
it's another two five.
You might use this note.
E, if you like.
it works as well using the Aeolian
scale instead, if you like to.
Just because it's in two five.
But otherwise, Phrygian.
B-flat seven is also.
The tri-tone substitution of.
G seven so, and
then we go to C seven again.
And then credence, so.
we have A-flat seven before, just as.
On the A section.
And then G7.
Same as before.
C-minor, F7, and B-flat major.
So that's the whole song more or less.
This last B section is not, this last
A section is not within the original, but
we made these substitution changes just
when we recorded the backing track.
Just to have some, something different
happening for the last A section.
So check it out and practice the song and
upload the video while you're improvising.
Thank you.